#Cambridge Museum of archeology and Anthropology

[arthistoryanimalia]

#WorldHippoDay 🦛

Wood hippopotamus mask (Utobo), 1930s Central Ijo. Nembe, Niger Delta, Nigeria

Cambridge Museum of archeology and Anthropology 2014.290 “This mask represents a hippo, utobo, submerged below the waterline. It would’ve been worn in the Owu masquerade. The powerful water spirits or Owu control animals and nature. It was worn by a male dancer on the top of his head, facing upwards, and was associated with the masquerade character called Nwere Utobo (Hippo's Wife), in the Rumuji Owu play.”

[memories-of-ancients]

Gilded annular brooch with garnets, Anglo-Saxon England, 7th century AD

from The Museum of Archeology and Anthropology, Cambridge

[thrakaboom]

Undying Avengers Issue 1: Enter the Dragons! by Conner Thrakaboom and Gene @avengerphobic

“And if I had wanted seafood I would have gotten real seafood- shrimp or crawdads in New Orleans!” Monica finishes to herself as she comes up by a pub. 

The pub is one of the few authentic locally owned pubs left in the area, the green and brown sign hanging outside of it declaring it as STERN’S. The group just sitting down in the window seat doesn't notice Monica from their side of the glass, nor does she notice them from hers. She walks past the pub all together.

Inside the pub, a reunion and an introduction is happening.

“Brian!” A slightly scruffy looking brown-haired man reaches out to shake a very large blonde man’s hand across the table. “This is my daughter, Jacks.” The man gestures to a twenty-something-year-old woman with a dark complexion and short black hair who is the aforementioned Jacks- Jackie Chopra.

Read the rest of the issue on AO3!

Enter the Dragons! Heroes come together after dragon artifacts at the Cambridge Museum of Archeology and Anthropology begin to come alive. But is there more going on under the surface?

Main: Monica Rambeau, Dane Whitman, Brian Braddock, Jackie Chopra, M-11, Kyle Gibney, Simon Williams, Thelius

Cameo: Adam Brashear, Jimmy Woo

[eileennatural]

a few weeks ago i visited the cambridge university museum of archeology and anthropology and i gotta say. kind of crazy how many signs the have talking about the importance of decolonization while also having.. all of that on display.

[serenhiscoxanimationpractice]

Audio Animation

Week 1

Our first project if the new term was to create a 30-40 second animation including audio which we were encouraged to record ourselves. We were each given an emotion to include within our piece and I received 'Vigilance'. After that, we visited the Cambridge museum of archeology and anthropology and did some observational drawings of the artefacts. These were to serve as inspiration for our story, wether that be the artefacts location, culture or the object itself. One of the objects that really stood out to me was a Polynesian boat oar depicting a child and frigate birds. After visiting the museum I made a mindmap surrounding the word vigilance as well as doing some further research around the oar.

[worldexpositor]

Tumblr is like a crazy ex-girlfriend, always wanting to know what I’m up to.

[lehuablossom]

jewellery: Fiji. Archeology and Anthropology Museum, Cambridge

[livinglikebritishroyalty]

𝒫𝓇𝒾𝓃𝒸𝑒 𝑅𝒾𝒸𝒽𝒶𝓇𝒹

♕ 𝐹𝓊𝓁𝓁 𝒩𝒶𝓂𝑒: Richard Alexander Walter George

♕ 𝐹𝓊𝓁𝓁 𝒯𝒾𝓉𝓁𝑒: His Royal Highness Prince Richard Alexander Walter George The Duke of Gloucester

♕ 𝐵𝓸𝓇𝓃: Saturday, August 26th, 1944 at St. Matthew's Nursing Home in Northampton, England

♕ 𝒫𝒶𝓇𝑒𝓃𝓉𝓈: His Royal Highness Prince Henry The Duke of Gloucester (Father) & Her Royal Highness Princess Alice Duchess of Gloucester (Mother)

♕ 𝒮𝒾𝒷𝓁𝒾𝓃𝑔𝓈: His Royal Highness Prince William of Gloucester (Brother)

♕ 𝒮𝓅𝓸𝓊𝓈𝑒:  Her Royal Highness Birgitte The Duchess of Gloucester (M. 1972)

♕ 𝒞𝒽𝒾𝓁𝒹𝓇𝑒𝓃: Major Alexander Earl of Ulster (Son), Lady Davina (neé Windsor) Lewis (Daughter), & Lady Rose (neé Windsor) Gilman (Daughter) 

♕ 𝐸𝒹𝓊𝒸𝒶𝓉𝒾𝓸𝓃: Barnwell Manor (In Northamptonshire, England), Wellesley House School (In Kent, England), Eton College (In Berkshire, England), & Magdalene College at the University of Cambridge (In Cambridge, United Kingdom: Studied Architecture, Bachelor & Master of Arts Degrees in Architecture)

♕ 𝐼𝓃𝓉𝑒𝓇𝑒𝓈𝓉𝓈 𝒶𝓃𝒹 𝒲𝓸𝓇𝓀: Interests: Armed Forces (Air Force, Architecture, Court System, Defense, Disabled, Fallen Soldiers, Heraldry, & Security), Education, Food (Wine Trade), Health (Blindness, Cancer, Historic Sites, Hospitals, Leprosy, Medicine, & Support Animals), Nature (Agriculture, Conservation, Forests, Horticulture, Land Management, Soil, & Wildlife), People (Disabled, Elderly, Homelessness, Religious, & Trade), Science (Anthropology, Archeology, Art History, Engineering, Technology, & Transportation (Cars, Trains, & Trams)), Sports (Golf & Rowing), & The Arts (Architecture, Metal Work, Music, Shoe-Making, Stonemasonry, & Theatre). Work: Chancellor of The University of Worcester, Commissioner of the Historic Building & Monuments Commission for England, Co-Patron of Abbotsford Trust Appeal, Corporate Member of the Royal Institute of British Architects, Fellow of The Royal Society for the Encouragement of Arts/Manufactures/Commerce, Founding Chancellor of The University of Worcester, Freeman of The City of London, Freeman/Liveryman of The Worshipful Company of Masons, Honorary Fellow of The Institution of Civil Engineers, Honorary Fellow of The Institute of Clerks of Works and Construction Inspectorate, Honorary Fellow of The Institution of Structural Engineers, Honorary Fellow of The Royal Incorporation of Architects in Scotland, Honorary Freeman of The City of Gloucester, Honorary Freeman/Liveryman of The Worshipful Company of Goldsmiths, Honorary Freeman/Liveryman of The Worshipful Company of Vintners, Honorary Freeman of The Worshipful Company of Grocers, Honorary Life Member of The Bath Industrial Heritage Trust Ltd, Honorary Life Member of The Farmers Club, Honorary Life Member of The Friends of All Saints Brixworth, Honorary Life Member of The Royal Army Service Corps & Royal Corps of Transport Association, Honorary Member of The Architecture Club, Honorary Member of The Friends of Hyde Park & Kensington Gardens, Honorary Member of The Oxford & Cambridge Club, Honorary Member of The Petal Childhood Cancer Research, Honorary Member of The Reform Club, Honorary Membership of The Ecclesbourne Valley Railway Association, Honorary President of The The 20-Ghost Club Limited, Honorary President of The BR Class 8 Steam Locomotive Trust, Honorary President of The Somme Association, International Advisory Board Member of The Royal United Services Institute for Defence and Security Studies, Joint President of Cancer Research UK, Member of The International Advisory Board for The Royal United Services Institute, Member of The Royal Institution of Chartered Surveyors, Member of The Scottish Railway Preservation Society, Member of The St George's Chapel Advisory Committee, Patron of Action on Smoking & Health, Patron of Canine Partners for Independence, Patron of English Heritage, Patron of Flag Fen, Patron of St Bartholomew's Hospital, Patron of The Architects Benevolent Society, Patron of The Black Country Living Museum, Patron of The British Association of Friends of Museums, Patron of The British Homeopathic Association, Patron of The The British Korean Veterans Association, Patron of The British Limbless Ex-Service Men's Association, Patron of The British Mexican Society, Patron of The British Society of Soil Science, Patron of The Built Environment Trust, Patron of The Built Environment Education Trust (SHAPE), Patron of The Church Monuments Society, Patron of The Cresset (Peterborough) Ltd, Patron of The Construction Youth Trust, Patron of The De Havilland Aircraft Museum, Patron of The Essex Field Club, Patron of The Forest Education Initiative & Forest Education Network, Patron of The Fortress Study Group, Patron of The Fotheringhay Church Appeal, Patron of The Friends of Gibraltar Heritage Society, Patron of The Friends of Gloucester Cathedral, Patron of The Friends of Peterborough Cathedral, Patron of The Friends of St. Bartholomew the Less, Patron of The Gilbert & Sullivan Society, Patron of The Gloucestershire Millennium Celebrations, Patron of The Grange Centre for People with Disabilities, Patron of The Guild of the Royal Hospital of St Bartholomew, Patron of The Heritage of London Trust, Patron of The International Council on Monuments & Sites, Patron of The Isle of Man Victorian Society, Patron of The Japan Society, Patron of The Kensington Society, Patron of The Learning in Harmony Project, Patron of The Leicester Cathedral's King Richard III Appeal, Patron of The London Chorus, Patron of The London Playing Fields Foundation, Patron of The Magdalene Australia Society, Patron of The Mavisbank Trust, Patron of The Middlesex Association for the Blind, Patron of The Norfolk Record Society, Patron of The North of England Civic Trust, Patron of The Northamptonshire Archaeological Society, Patron of The Newcomen Society, Patron of The Nuffield Farming Scholarships Trust, Patron of The Oriental Ceramic Society, Patron of The Oundle Town Rowing Club, Patron of The Peel Institute, Patron of The Pestalozzi International Village Trust, Patron of The Richard III Society, Patron of The Royal Academy Schools, Patron of The Royal Air Force 501 (County of Gloucester) Squadron Association, Patron of The Royal Anglian Regiment Association, Patron of The Royal Anthropological Institute of Great Britain and Ireland, Patron of The Royal Blind (Services for the Blind and Scottish War Blinded), Patron of The Royal Epping Forest Golf Club, Patron of The Royal Royal Pioneer Corps Association, Patron of The Scottish Society of Architect Artists, Patron of The Severn Valley Railway, Patron of The Society of Antiquaries of London, Patron of The Society of the Friends of St Magnus Cathedral Association, Patron of The Soldiers of Gloucestershire Museum, Patron of The St George's Society of New York, Patron of The Three Choirs Festival Association, Patron of The Tramway Museum Society, Patron of The United Kingdom Trust for Nature Conservation in Nepal, Patron of The Victorian Society, Patron of The Westminster Society, Patron of The Worshipful Company of Pattenmakers, Patron-In-Chief of The Scottish Veterans' Residences, Patron-In-Chief of The Friends of St Clement Danes, Practicing Partner at Hunt Thompson Associates Architectural Firm, President of Ambition, President of British Expertise International, President of Christ's Hospital, President of The Britain-Nepal Society, President of The Cambridge House, President of The Crown Agents Foundation, President of The Greenwich Foundation, President of The Institute of Advanced Motorists, President of The London Society, President of The Lutyens Trust, President of The Peterborough Cathedral Development and Preservation Trust, President of The Public Monuments and Sculpture Association, President of The Royal Agricultural Benevolent Institution, President of The Society of Architect Artists, President of St Bartholomew's Hospital, Ranger for The Epping Forest Centenary Trust, Royal Bencher for The Honourable Society of Gray's Inn, Royal Patron of Bede's World Museum, Royal Patron of Habitat for Humanity (UK Branch), Royal Patron of The 82045 Steam Locomotive Trust, Royal Patron of The British Museum, Royal Patron of The Global Heritage Fund UK, Royal Patron of The Global Heritage Fund UK, Royal Patron of The Lilongwe Wildlife Trust, Royal Patron of The Nene Valley Railway, Royal Patron of The Peace and Prosperity Trust, Royal Patron of The Royal Auxiliary Air Force Foundation, Royal Patron of The Strawberry Hill Trust, Royal Patron of The Wells Cathedral - Vicars' Close Appeal, Senior Fellow of The Royal College of Art, The Duke of Gloucester Young Achiever's Scheme Awards, The Offices Development Group for the Ministry of Works, Vice Royal Patron of The Almshouse Association, Vice Patron of The National Churches Trust, Vice President of LEPRA, Vice President of The Royal Bath and West of England Society, Vice President of The Royal Cornwall Agricultural Association, Vice President of The Royal Smithfield Club, & Visitor of The Royal School Dungannon

[weissfai-blog1]

The Prince & his Knight ~ Chapter 1

Thebes, City of the Living. Crown jewel of Pharaoh Seti I. Home of Imhotep, Pharaoh's high priest, keeper of the dead; birthplace of Ammon-The-Golden-Flower, Pharaoh's lover. No other man or woman was allowed to touch him. Ammon-The-Golden-Flower was said to have been born from his Egyptian mother and The Exalted Ra, the deity of the Sun. Ammon was born with beautiful blue eyes and golden hair. When Pharaoh Seti I saw him, he knew that he will have him. Since the day Ammon was born he was groom to be the Pharaoh's lover. He was given everything and was pampered. No one is allowed to touch him, even the Pharaoh's legal wife dare not to touch Ammon for fear of her husband and the Gods. For Ammon was the living God his beauty and form is of divinity. But his heart… Ammon's heart for all eternity belongs to his secret lover… Imhotep. Imhotep who takes care of Ammon's injury whenever the Pharaoh exceeds his lovemaking. Imhotep heals all Ammon's injury, bruises and pains… It was Imhotep that taught Ammon the gentleness of a touch, the beauty of a smile and the sweet embrace of a lover. And with their simple and short encounter - they formed a beautiful yet forbidden love. But for the love - they were willing to risk life itself. Ammon killed himself to show defiance and to prove that Pharaoh Seti I may have his body but never his heart and soul. To resurrect Ammon, Imhotep and his priests broke into his crypt and stole his body. They raced deep into the desert, taking Ammon's corpse to Hammunaptra, City of the Dead, ancient burial site for the sons of pharaohs, and resting place for the wealth of Egypt. For his love, Imhotep dared the gods' anger by going deep into the city, where he took the Black Book of the Dead from its holy resting place. Ammon's soul had been sent to the dark Underworld, his vital organs removed and placed in five sacred canopic jars. Ammon's soul had come back from the dead. But Pharaoh's bodyguards had followed Imhotep and stopped him before the ritual could be completed. Imhotep's priests were condemned to be mummified alive. As for Imhotep, he was condemned to endure the Hom Dai, the worst of all ancient curses. One so horrible it had never before been bestowed. He was to remain sealed inside his sarcophagus, the undead for all eternity. The Medjai would never allow him to be released. For he would arise a walking disease, a plague upon mankind, an unholy flesh-eater with the strength of the ages, power over the sands, and the glory of invincibility. For 3,000 years men and armies fought over this city not knowing what evil lay beneath it; and for 3,000 years we, the Medjai, the descendants of Pharaoh's sacred bodyguards, kept watch. . . . . . . Pete closes the book he was reading and looks at Tin. Tin raises his eyebrow, ‘So?' ‘So?! I mean isn't this amazing?' Tin rolled his eyes and flip the pages of his own book ignoring his best friends dreamy look. ‘Amazing? That what? Even the great Pharaoh can get gay? Well, any man can get hard if the description of Ammon is accurate.' ‘No dummy! Imhotep and Ammon's love story!' ‘It's a cursed love. And that story is full of loopholes.' ‘What loopholes?' Tin close the book he was reading and look at Pete, ‘For someone smart and a genius like you when it comes to love story even from the crypt you lack braincells.' ‘Tin! Thank you for insulting me and complimenting me. You're the only handsome bastard who can do that at the same time. So now spill – what're the loopholes?' Tin rolled his eyes once again, ‘One. If I were the Medjai, why the bloody hell will I condemned or perform the Hom Dai to Imhotep? What if the curse was true and some moronic asshole dig up his bones and what – he will have the power of the ages? No way. I'll bury him alive alright.' ‘Tin! We don't know exactly what's the Hom Dai aside from being the worst of all ancient curses-‘ ‘Yeah, so if I were the leader of the Medjai, I'll just remove some of his vital organs and let him feel it while being removed and then bury him alive.' ‘You're cruel.' ‘He messes with the Pharaoh's lover. And what the hell is the Book of the Dead? That's Ancient Egypt – there's no way there's a book.' ‘You know for someone with brains and so-called intellect you're a dummy yourself.' ‘How so?' ‘This is Ancient Egypt. If they can build the bloody pyramids then they can create a book as well. The Book of the Dead was said to contain all Ancient Spells, Speech, Incantation and the secret of the pyramids.' ‘And its made of gold.' ‘White gold.' ‘Yeah anyway, why are you bringing up Imhotep's love gay story? Wait, don't tell me that's the reason you're studying Egyptology? Cause if it is – let me smack your head with the book.' ‘Tin~~~' ‘What?! Tell me the reason before I hit you with this book.' Pete smiles and takes out the locket necklace he was wearing, ‘This is the reason.' Tin smiles and ruffles Pete's hair. ‘Tin!' ‘You know you're still in love with your parent's love story.' ‘Tin… my father left mom, but every day since he left us, the love in my mother's eyes is still the same. As if dad's departure was predestined.' Tin put his hand on his chin and look at his best friend, ‘Pete. Your dad was a douchebag who left your mom. Don't romanticize it with delusional crap.' ‘It's not delusional Tin. Mom's eyes still sparkle when I talked about Dad.' Tin shook his head and continued reading his book. Pete pouts and when he saw that Tin wouldn't talk to him anymore, continued to read the book he was reading. Tin looks at Pete. Pete Pitchaya El Sayed. The Prince of the Department of Archaeology at the University of Cambridge. The only son of the Famous Family in the Hotel Business and the heir to their empire. Pete is the living Prince Charming as he is the most beautiful man he had ever met. Tin can be described as handsome and muscular while his best friend Pete can be described as a beautiful angelic man. Pete is beautiful for a man, he is not muscular but petite and tall. Pete has milky white skin, not white skin like him, but of milky smooth white skin that feels so soft to the touch. It's like touching milk and butter. Pete was gifted with a beautiful cupid bow's lips that is red. Pete can rival any girl's lips for he doesn't need any red gloss or rouge, Pete's lips are naturally red. He has soft – very soft silky brown hair that perfectly crowns his head. Pete's style of hair is different from the British and American with a clean cut or sports a suave hair gelled at the back – Pete's naturally soft hair just crown his head so beautifully. Pete told him once that he tried putting his hair like the others but the gel made his head itchy. But what everyone's focus was his eyes. Unlike them with blue, green and grey eyes, Pete's light brown eyes are like of a doe. It's sweet, gentle as if your very soul will be pulled in. Surrounded by long lashes that made Pete looks so divine and beautiful. Tin knew that not only the girls are after Pete, but so many guys in the different department. The only thing that stops them is him. He is after all the so-called son of a Gangster/ Mafia. Well, he doesn't deny it nor admit it – he just doesn't care. People in this society will leech you and use you, the only person who ever look at him as a person was Pete. Pete who has no mean bone in his body. Hell, if angels are real – Pete is the fucking reincarnation of said angels. Pete is not just beautiful outside but inside as well – he has the purest of heart and kindness to everyone. Thus he met so many bad people who take advantage of him when he was young, and thus he was always there to protect Pete – making him the bad guy but still its cool for him. As long as he can protect this Little Prince its worth it. Pete is the only one who ever looks at him and talks to him as Tin. Pete will talk to him and even jokes with him, hell Pete even befriend all his bodyguards that if anyone dares to hurt even a strand on Pete's hair – his whole bodyguards will rain blood on that bastard. Even his father who was known to the world as the biggest deadliest Mafia Lord can smile and laugh whenever Pete brings him flowers of baked cookies which Pete burnt most of the time. ‘Tin…' ‘Hmm?' ‘I wanna go there.' ‘Where?' ‘Egypt.' ‘Well you have to, you're studying archeology of Egypt right?' ‘No! I mean, yes, but I wanna live there.' ‘I beg your pardon?' ‘I just don't want to go there to dig. I wanna live there for let's say a couple of years to know the culture, the people, the history. I want to be there to learn the ancient civilization and not just vandalize and dig.' ‘Pete, you're graduating soon, where do you wish to work there? You don't even know if they'll hire someone as-‘ ‘I'm hired.' ‘What?' ‘Uhm… I send my application weeks ago and I received it an answer this morning. I'm hired as the Archivist per curator.' ‘Where?' ‘The Museum of Egyptian Antiquities.' ‘Bloody hell. How the hell where you able to be accepted? I mean, sure you're a smart and a genius but to be able to be accepted there – you got to have merits and background. You're just a fresh grad if ever.' ‘Actually… I was getting more subjects and I talked to Professor Abraham last time and they release my grades earlier so that I can send the letter. And Professor Kashim and Professor Khalifa and Professor Wellington gave me their letter of recommendation.' ‘Wait… those – you mean to tell me aside from the major subject you took more?' ‘Uhm… see here.' Pete then slowly with his dainty fingers push the papers to Tin. ‘Egyptian Language, Sumerian Language, Egyptian Archaeology, Egyptian religion, Egyptian Language, a perfect score in Hieroglyphs, Cultural memory, Anthropology, and the hell - you pass Lexicography and Demotic… Tell me Pete are you planning to invade Egypt or be the next Herodotus?' ‘Tin~' ‘What? I'm just saying, the reason you always stayed up all night, the reason that you're always at school even on vacation - you were taking these lessons and here I was thinking  that Management Studies and Mathematics is already a drag.' ‘But Tin, you're also taking Natural Science and some Akkadian subjects.' ‘Yeah because I like to be challenged, unlike you – you do it cause you wanted it and you work hard.' There was silence. Tin looked again at the grades of Pete and he was impressed, really really impressed. And the professor who gave these letters of recommendation is not an ordinary professor. They are the backbone of the university and to even give a recommendation is like asking the president to sign an autograph while inside the white house when there's a world war meeting. That's how hard it is to get those signatures. But Pete did all that. The grades are given not because of surname or family names and reputation – the professors in Cambridge are hardcore I will whoop the word ABC in your brains for good and will never be swayed. To get those grades, one must work hard – harder than anyone. Harder than the professors themselves. ‘Congratulations Pete. I'm really really proud of you. When are you planning to leave?' ‘Five months from now. After graduation, I will arrange everything first at home and then have my books and other stuff packed and send to Egypt.'.

.

.

.

.

Pete looks at the note once again. Meet me. 3rd section. Library. ~Tin. His brows furrow as this is the first time Tin sent him a note. Occasionally Tin will just find him and doesn't send any note. Or one of his bodyguards will just pop out. Pete grew worried about Tin he hurriedly went to the library. Only Tin knew about him going to school on Sunday. The professor gave him access to the other research rooms for his studies and he was allowed to go inside the school even on a holiday. Pete went inside the library. It was 5 in the afternoon and the sun is about to set. And there were only three main lights inside the library. He switched on the first one and called out, ‘Tin?' Pete went inside and close the door. The librarian is out of course as it is a holiday or no school for the students. He was walking the third row of books when someone grabs him. ‘Got you!' Slap! Pete fell down with the hard slap from his attacker. ‘T-Trump?' ‘You bitch! You think you're so high and mighty! Who the hell are you to reject me?!' Trump grabs Pete's hair and holds his face. Pete's angry eyes glare back at him with so much hate. ‘I told you I don't like you!' ‘Bitch! You like men! I know you do! You kept so close to that bastard mafia son! I'm a decent man! I'm even willing to oppose my parents arrange marriage for you!' ‘And I told you I don't like you! I politely rejected you! I told you to marry anyone and don't bother me! I have never done anything to make you think otherwise!' ‘Then why are you so kind to me!' ‘I am kind to everyone!' Trump's eyes glare and slap and punch him, ‘You slut! I bet you use your ass to that gangster and his bodyguards! Then why not me! I have been lusting after you and while here I was going crazy, you spread your legs to them!' ‘Damn you! Don't ever think about my friends like that!' Pete tried to push him but Trump was strong and overpowering him. Trump rips Pete's clothes and was about to bite his chest when someone throws him off and landed a punch that made Trump doubled in the floor. ‘Bastard!' Trump get up and was about to throw a punch when he was kicked hard in the chest and was punched in the face. Blood ooze from his face and when he tried to get up once again, a hard solid punch knocked him out. Pete cannot see clearly, the slap and punch had him in pain and his eyes are blurry. He wanted to open his eyes and stay conscious to fight anyone who will touch him. Someone then knelt beside him and touch his naked body, he shouted, ‘DON'T TOUCH ME!' ‘Shhh… shhh angel. I won't harm you. No one will harm you now…' Pete then felt warm clothes wrap his naked upper body and he was held tight while a cold cloth gently caresses his face. ‘Hmmm!' It pains him. It stings. ‘Shhh… I know it hurts, but I need to put this on your face so you can heal much faster. Sorry I arrived late.' ‘W-Who?' Pete was not able to finish his sentence, he felt so much in pain and his consciousness is losing He heard a deep yet gentle tone, ‘Me? Hmmm… let's just say your Knight little Prince. I thought a damsel was being assaulted, surprised to see a boy. What are you doing here hanging out with that asshole?' His knight was wiping the blood from his mouth, 'Angel, do you want me to kill the bastard? He really did not hold back.' ‘Hmmm…' The Knight chuckles and carried him out of the library. Pete heard noises and shouting but everything was losing… he cannot hear anything anymore… all he knew… the gentle warm arms that carry him and the broad chest that made him feel safe. And the heartbeat of the Knight. Calm. Powerful. Steady. 'W-who...?' He tried so hard to let the question out. He has no idea if he was heard, but a whisper in his ear reaches him... warm soft yet firm. 'Ae.' . . . TBC Author’s Note: First intro ~ The Story of the Lovers ~ was from the movie The Mummy ~ though I have change some things. :) Enjoy reading.

Please be advised/ reminded that ENGLISH is not my natural language but I do try to deliver the story… Please forgive any grammatical error, typo error or any ERROR at all. If you find any error – then feel free to change it in your mind. Disclaimer: I do not own any of the characters of LOVE BY CHANCE. All rights belong solely to the author MAME and the Director New Siwaj And neither do I make any money from this story. Any resemblance to any real people (living, dead, or stolen by fairies), or to any real animals, gods, witches, countries, and events (magical or otherwise) is just blind luck, or so I hope.

[elisewrightwsc2]

Primary research - Cambridge trip

I’m Cambridge I went to various mueseums such as the fitzwilliam mueseum, mueseum of archeology and anthropology and the museum of zoology. I found various statues inspiration towards my theme as I am interested in the mythology theme. I took primary research pictures to use as a subject for future sampling/outcomes. The idear of bones and death fit my theme well as they can inspire the idear of hell and what happens after death. I captured the butterfly’s as they could inspire a butterfly effect theme, involving the theme of spiritual elements. I was inspired by the Egyptian tombs as they can inspire spiritual elements them of death/religion.

[emmf2s1]

Artist Research

Folio 2 section 1

Antony Gormley

General Information:

Antony Gormley is a British sculptor known for his large-scale installations that explore the human body in space. Gormley was born in London in 1950. Gormley went on to study at Trinity College then Cambridge before travelling to India and Sri Lanka for several years. Whilst at Cambridge he studied archeology, anthropology and art history. When he returned to London he began studying sculpture at Central Saint Martins College of Art and Design and the Slade School of Art.

Gormley’s work is exhibited at the Tate Gallery in London, the British Museum of Modern Art in New York. Gormley eventually became an Officer of the British Empire in 1997. He continues to live and work in London. His wife was an artist and became a vital part in his works after they married. Gormley’s wife would help with the full body encasements for his sculptures.

Iconic Artworks:

Sublimate, 2008

Gauge IV, 2014

Room, 2008

Places to be, 1985-1986

This piece (Places to be, 1985-1986) consists of three standing male figures. They were casted from Antony Gormley’s body and were wrapped in lead. Over time the figures have been damaged with dents and scratches and they have been moved to various locations, however this adds to the piece. One out of the three figures were missing arms. Therefore, the arms were remoulded and a stainless steel tube was inserted into the sculpture to support the new arms. The lead on the shoulders and head was removed. Fiberglass resin was used to blend the new arms to the shoulder and head. Using this material created a smooth surface. Since then the sculptures have been placed in their new home on the rooftops of Queensgate Shopping Centre, Peterborough. Gormley’s wife helped make the moldes for this sculpture, due to the fact that Gormley’s body was being used for the sculptures. Therefore, it would have been almost impossible to do this on his own. I personally love this piece because I feel that each figure conveys a different emotion and movement. Which is very interesting and thought provoking.

Concepts and why they make their art:

Gormley’s art work is inspired by his childhood. It was a tradition to have a nap. He explores the feeling of inhabiting the human body whilst you close your eyes, the darkness and open space in your mind. We close our eyes and there are no edges and no dimensions. The primary source of his work is his body and in some of his works he uses software to abstract the body. Whilst Gormley was in India he gained a lot of inspiration for his work. Gormley makes his work as it can make him and the viewer more aware of time and of our own individual perception of scale and sense of space. A sculpture makes you as the viewer more aware of your own movements.

[memories-of-ancients]

Gold coin issued by emperor Gratian, Roman, 367-383 AD

from The Museum of Archeology and Anthropology, Cambridge

[robertmcangusgroup]

The Daily Tulip

The Daily Tulip – Archeological News From Around The World

Friday 2nd February 2018

Good Morning Gentle Reader….  It’s that day of the week again, Archeological News Day! This seems to attract more reader than any other day of the week which is pleasing of course, we have a page the is exclusively Archeology called “Our Past Beneath Our Feet” and we are always looking for new members…Hint Hint… https://www.facebook.com/groups/OurPastBeneathOurFeet/

BRONZE AGE SKELETON FOUND IN NORTHEAST ENGLAND…. NORTHUMBERLAND, ENGLAND—BBC News reports that skeletal remains were found in a burial cist on farmland in northeast England. The body and a beaker had been placed in the stone-lined grave and covered with what appears to be a horsehair blanket. Sanita Nezirovic of the University of Derby evaluated the bones. She thinks they belonged to a young man who was between the ages of 17 and 21 when he died some 3,500 years ago, and added that his teeth were in good condition. “The shape of his head is beautiful, and you can see from the teeth he would have had a perfect smile,” she said. Nezirovic also noted that he probably stood somewhere between five feet, six inches, and five feet, nine inches tall.

MEDIEVAL CHESS PIECE UNEARTHED IN SOUTHERN NORWAY….  TØNSBERG, NORWAY—According to a Live Science report, a game piece recovered from a thirteenth-century house in southern Norway is believed to be a knight from a shatranj, or ancient chess set, since it is carved with circles on the bottom, sides, and top, and a protruding snout bearing dotted circles, causing it to resemble a horse. Archaeologists from the Norwegian Institute for Cultural Heritage Research suspect some lead inside the thimble-shaped piece of carved antler helps it to stand upright. Lars Haugesten, project manager of the excavation, says similar game pieces are found in Arabia, where chess was first played in the seventh century. In addition, a twelfth-century chess piece has been found in Lund, Sweden.

TWO WELL-PRESERVED SHIPWRECKS DISCOVERED IN BALTIC SEA…. STOCKHOLM, SWEDEN—According to a report in The Local, two wooden shipwrecks have been found in the Baltic Sea, near Sweden. One of the vessels is thought to be a single-masted cog dating to the fourteenth or fifteenth centuries. The other ship, thought to date to the sixteenth century, was carrying 20 barrels of osmond iron, a type of wrought iron, and tar when it sank. Maritime archaeologist Jim Hansson said he had never seen such well-preserved shipwrecks. They will be featured in a new maritime museum in Stockholm.

MODERN HUMAN FOSSIL IN ISRAEL PUSHES BACK MIGRATION DATES…. TEL AVIV, ISRAEL—According to a New York Times report, a fossilized portion of a modern human upper jaw, complete with seven intact teeth, has been found in Israel’s Misliya Cave by a team led by Israel Hershkovitz of Tel Aviv University. The maxilla has been dated to between 177,000 and 194,000 years old, which suggests that modern humans were present in the Levant at least 50,000 years earlier than previously thought. Paleoanthropologist Gerhard W. Weber of the University of Vienna and his team used high-resolution micro-CT scanning equipment to create a 3-D replica of the jaw, examine its features, and compare them with fossils of Neanderthals, Homo erectus, and other hominins from Asia, Africa, Europe, and North America. “It’s not a little bit modern, or on the border of being modern,” Weber said. “It is really modern human.” The fossil is said to be the oldest-known evidence of modern humans living outside of Africa, and it could push back the evolution of Homo sapiens by 100,000 to 200,000 years, suggesting they originated in Africa some 300,000 to 500,000 years ago.

NEW THOUGHTS ON HUMAN BRAIN EVOLUTION…. LEIPZIG, GERMANY—Simon Neubauer of the Max Planck Institute for Evolutionary Anthropology and his colleagues say rounded heads rising above the forehead and globe-shaped brains appeared in modern humans between 100,000 and 35,000 years ago, according to a Science News report. The researchers used micro-CT scans of the inner surfaces of the skulls in the test sample to create digital approximations of the size and shape of the individuals’ brains. The sample included 20 ancient Homo sapiens skulls, the oldest of which date to 315,000 years ago. Four of the skulls date to between 120,000 and 115,000 years ago, and the remainder between 36,000 and 8,000 years ago. The ancient brains were compared with 89 present-day modern-human brains, and the brains of 10 members of other ancient Homo species ranging in age from 1.78 million years to 200,000 years. Eight Neanderthal brains, dating to between 75,000 and 40,000 years ago, were also used for comparison. The study suggests that over a period of about 250,000 years, the human brain remained the same size, but transitioned from a flatter, elongated shape to a rounder one, due to changes in the parietal and cerebellar areas. Those parts of the brain are involved in orientation, attention, imagery, self-awareness, memory, numerical processing, language, balance, spatial processing, and tool use.

PREHISTORIC ARTIFACTS RECOVERED FROM NORWAY’S GLACIERS…. CAMBRIDGE, ENGLAND—Newsweek reports that more than 2,000 artifacts dating back to as early as 4000 B.C. have been recovered from mountain passes in the glaciers of Oppland, Norway, by an international team of researchers. The artifacts include weapons and arrows, the remains of pack horses, and skis. Lars Pilø of the Glacier Archaeology Program at Oppland County Council said the skis are broader than modern skis, and may have been partly covered in fur. A tunic dating to the Iron Age, one Bronze-Age shoe, and the remains of sleds were also found. Pilø said that during the Late Antique Little Ice Age, a period stretching from A.D. 536 to 660, harvests failed and populations fell, but the number of artifacts from that time period suggests the survivors intensified other means of gathering food in the mountains. “This is sort of a dark archaeology, where we benefit from climate change that’s making this ice high in the mountains melt,” Pilø said. “There’s not much we can do to stop it, but at least we can be up there trying to find what we can.”

Well Gentle Reader I hope you enjoyed our look at the Archeological news from around the world this, Friday morning… …

Our Tulips today are resplendent in all their glory…..

A Sincere Thank You for your company and Thank You for your likes and comments I love them and always try to reply, so please keep them coming, it's always good fun, As is my custom, I will go and get myself another mug of "Colombian" Coffee and wish you a safe Friday 2nd February 2018 from my home on the southern coast of Spain, where the blue waters of the Alboran Sea washes the coast of Africa and Europe and the smell of the night blooming Jasmine and Honeysuckle fills the air…and a crazy old guy and his dog Bella go out for a walk at 4:00 am…on the streets of Estepona…

All good stuff....But remember it’s a dangerous world we live in

Be safe out there…

[sysk-ehess]

BROOK ANDREW

Mercredi 8 avril à 10h du matin (heure de Paris)

Wednesday April 8, 10AM (Paris time)

Captation / Recording : click here

Directeur artistique de NIRIN, la 22ème Biennale de Sydney (2020) Brook Andrew est un artiste et chercheur interdisciplinaire. Son identité Wijaduri (Aborigène) et Celte compte dans sa pratique, qui interroge les discours occidentaux, et plus spécifiquement le continent australien, à travers le prisme du colonialisme. Pour cela, il travaille au contact des communautés, et puise son inspiration dans les archives et collections publiques et privées du monde entier  (notamment : Van Abbemuseum d’Eindhoven, Musée d'ethnographie de Genève, National Gallery of Victoria, musée du Quai Branly, Museo Nacional Centre de Arte – Reina Sofia, Museo de América et Museo Nacional de Antropologia de Madrid, Musée d’Aquitaine de Bordeaux...Anthropological Institute de Londres, Museum of Archeology and Anthropology de Cambridge et département d’Anthropologie de l’Université de Vienne). 

[EN] Brook Andrew is an interdisciplinary artist who examines dominant narratives, often relating to colonialism and modernist histories. Through museum and archival interventions and curatorial projects, he aims to make forgotten stories visible and offer alternative choices for interpreting history in the world today. Apart from drawing inspiration from vernacular objects and the archive he travels internationally to work with communities and various private and public collections. Brook is Artistic Director of NIRIN, the 22nd Biennale of Sydney 2020.

Programmation et prochains rendez-vous sur ce site ou par abonnement à la newsletter : somethingyoushouldknow-request@ehess.fr

Pour regarder les séminaires antérieurs : http://www.vimeo.com/sysk/

Séminaire conçu et organisé par Patricia Falguières, Elisabeth Lebovici et Natasa Petresin-Bachelez et soutenu par la Fundación Almine y Bernard Ruiz-Picasso para el Arte

[thesydneyfeminists]

Isabel McBryde: Mother of Australian Archaeology

Mother!

Mother!

Do you know that movie with Jennifer Lawrence? Regardless of your thoughts on it, I’m actually talking about another mother: the mother of Australian archaeology, Isabel McBryde. This wonderful woman inspired and continues to inspire archaeologists of all generations.

Image Description: A black and white photo of Isabel McBryde from the waist up. She is standing in front of a filing cabinet with her right hand rest gently on top. McBryde is wearing a black suit top, white undershirt and a pair of black, cat-eye glasses. Her hair appears to be dark blonde or light brown and is cut/ styled in a short wave. She is half smiling and looking directly at the camera.  

Her journey began on July 16th, 1934. Besides moving to Melbourne shortly after her birth, not much is known about her personal life. Instead, most of what is written about McBryde concerns her work.

Isabel McBryde has impacted history almost as much as she has recorded and studied it. She’s trained multiple generations (at least three) of archaeologists and made countless discoveries. In her lifetime, she’s published over 100 books, articles and reports! She is truly a pioneer of the field.

McBryde and the late John Mulvaney “were responsible for the shift of research into the archaeology of Aboriginal Australia from the museum to the university sector” (trowelblazers.com). While McBryde was considered the mother or archaeology, Mulvaney was the father.

Image Description: A close-up of the Australian continent as it appears on a world map. Australia is shown in light green and surrounded by light blue (the ocean). The photo is taken from an angle as if the photographer is looking up and to the left at Australia. There are pins with multi-colored heads placed at different points on the map. Most are clustered along the east coast, though there is one in the center and two further to west. 

McBryde completed her Honours and Masters degrees in Latin and Ancient History at Melbourne University and in 1958 she attended Cambridge for a Diploma in Prehistoric Archaeology.

While teaching at the University of New England from 1960 to 1974, McBryde established archaeology courses to train future archaeologists. Further research on Aboriginal Australia was foremost in her mind. McBryde respects and values Aboriginal communities and the connections she has made with them. She doesn’t talk over them or put her opinions and beliefs of them first. Rather, she works with them.

IImage Description: The front cover of McBryde’s book “Aboriginal Prehistory in New England: An Archaeological Survey of Northeastern New South Wales.” The cover appears to be light yellow/ green and the title is written across the top-center in bold, black lettering. A white line separates the title from the sub-title, which is written in smaller, italicized lettering. At the bottom of the cover is a sepia-toned picture of four Aboriginal people. The two in the foreground appear to be chopping bark off a tree. One in the background is about to spear a fish in the lake, while the other stands behind them watching. 

In 1974, McBryde began teaching at the Australian National University and became the professor of Prehistory/Archaeology in 1986.

Before McBryde, there were no archeology courses in Australia. She had to travel all the way to Cambridge just to get an archeology degree. How times have changed!  This trailblazer became an Officer of the Order of Australia in 1990.

Even after retiring in 1994 from the Australian National University, McBryde is still well-recognized. This trailblazer remains a Professor Emerita of the University and has held Honorary Visiting Fellowships at ANU and the Australian Institute of Aboriginals and Torres Strait Islander Studies (AIATSIS).

In 2001, she received a Centenary Medal for her work and in 2003 she received the Phys Jones Medal for Outstanding Contribution to Australian Archaeology (the highest honor the Australian Archaeological Association can give). In 2005, she was awarded a life membership by them as well. She was their first Secretary and a founding member.

Although McBryde is an archeologist, she is invested in the present and future just as much as the past. She continues to address pressing social questions and combines the fields of archaeology, ethnohistory, historical archaeology, and cultural heritage. She has served on multiple committees, including the Australian Institute of Aboriginal and Torres Strait Islander Studies (1966-1976; 1995-1996), the National Cultural Heritage Forum (1997-1999), the Board of Management of Uluru Kata Tjuta National Park (1996-2001), the Technical and Scientific Advisory Committee Willandra Lakes World Heritage Area (1994-1998), the Willandra Lakes World Heritage Area Consultative Committee NSW (1985-1993), the Aboriginal Education Consultative Committee at Australian National University (1991-1998), Australia ICOMOS (1996-1997), the NSW Aboriginal Cultural Heritage Interim Advisory Committee (1993-1996), the Australian Academy of the Humanities (1981-Present), Aboriginal Sites Committee (NPWS NSW) (1981-1993), Australian Association of Aboriginal Studies, Aboriginal Relics Advisory Committee (NPWS NSW) (1970-1980), Encyclopaedia Britannica Australian Advisory Committee (1986-1989), Bruce Hall, Australian National University (1976-1986), the HMAS Ipswich Association (1997-Present), and the Australian Heritage Commission (1980-1988).

McBryde is currently a member of the Board of the ANU's Institute for Professional Practice in Heritage and the Arts (IPPHA). From its inception in 1975, she has been a member of the Editorial Board of the journal Aboriginal History. She is a Fellow of the Royal Anthropological Institute (London) and of the Australian Academy at the Humanities.

One thing is certain: Isabel McBryde has dedicated her life to helping establish and grow Australian archaeology.

For more information about McBryde and to check out famous scientists from all over the world, visit https://trowelblazers.com

By: Alex Berg

Resources:

https://trowelblazers.com/isabel-mcbryde/

https://australianarchaeologicalassociation.com.au/awards/rhys-jones-medal/isabel-mcbryde/

https://honours.pmc.gov.au/honours/awards/1118245

http://www.womenaustralia.info/leaders/biogs/WLE0651b.htm

Images:

https://www.pexels.com/photo/australia-traveling-travelling-travel-68704/

https://www.amazon.com/Aboriginal-Prehistory-New-England-Archaeological/dp/0424065304/ref=sr_1_fkmrnull_3?keywords=Isabel+McBryde&qid=1551169448&s=gateway&sr=8-3-fkmrnull

https://www.flickr.com/photos/unepix/9649892971/

Disclaimer: The views expressed in this piece do not necessarily reflect the views of the Sydney Feminists. Our Blogger and Tumblr serve as platforms for a diverse array of women to put forth their ideas and explore topics. To learn more about the philosophy behind TSF’s Blogger/ Tumblr, please read our statement here: https://www.sydneyfeminists.org/a

[swissnexboston]

Eikones Conference

The Sacred Image Between Revealing and Concealing: new directions in the interpretation of the sacred in ancient and medieval art 

By Dan Aufseesser, Junior Project Manager

As you enter the Fogg Museum, a beautiful, modern and spacious hall first welcomes you. In this historic building, the glass roof, installed as part of the 2008  renovation led by architect Renzo Piano, reveals with splendor the unique collection hosted by the Harvard Art Museum. On the second floor however, behind a few galleries, lies a room unknown by most visitors and concealed by a discreet door. Entering the Naumburg Room is like travelling to another time. The dark wooden panels and the exquisite Swiss stained-glass windows (you will even notice a Bern flag) are a contrast from the rest of the museum. The room was once the apartment of Nettie and Aaron Naumburg in New York City and was itself inspired by German architecture.

Could there have been a more appropriate space to host the Eikones conference?

On the invitation were Adrian Stähli (Harvard University, Department of the Classics), Jeffrey F. Hamburger (Harvard University, Department of History of Art and Architecture), and Gerald Wildgruber (University of Basel, Graduate School Eikones), academics in Art History, Archeology, History, Visual Arts, Anthropology, and Literature gathered from Europe and the US to discuss “the understanding of current me­­thods for the interpretation of sacred images, question their con­ti­nued applicability in light of new models, and, in particular, to foster debate among scholars on both sides of the Atlantic whose work remains rooted in very diverse academic traditions which too frequently talk past, rather than with, each other”.

After introductory remarks by the three organizers, highlighting the importance of this transcontinental exchange to better understand the subject at hand, the conference started by a paper presentation by Ioannis Mylonopoulos (Columbia University, Department of Art History and Archaeology), followed by  Gerald Wildgruber and Verity Platt (Cornell University, Department of Classics). Each presentation was echoed with remarks and questions from the speakers as well the audience made of students, teachers and history enthusiasts. Following a short coffee break, allowing guest and speakers alike to meet each other and deepen conversations, the conference went back on track with presentation by Sophie Schweinfurth (University of Zürich, Kunsthistorisches Institut) and Laura Nasrallah (Harvard University, Divinity School).

As promised in the program we were then treated with a surprise: a special and private visit of the Adolphus Busch Hall. It is well concealed in the heart of Cambridge and behind an unsuspecting door we discovered this space filled with beautiful replicas of German art and architecture.

Fortunately, this wasn’t all the first day had to offer. There was more to come in the form of a Keynote Lecture in the Harvard Hall by famed and renowned French-professor François Lissarague who gave us a glimpse at the various ways images of religious rituals integrate divine presence according to different modes, media and rites.  

After a good night’s rest, we all convened on Friday for a second day of fascinating presentations focusing on a vast period of time. It started with a paper by Milette Gaifman (Yale University, Department of Classics) on “Jugs, Gods, and the Creation of the Sacred in Classical Greece”, Followed by James Simpson’s (Harvard University, Department of English) presentation on “Idolatrous Images and the Psyche in Reformation England”, and Felipe Pereda’s (Harvard University, Department of History of Art and Architecture) paper on ““Floating in the Sea” The Origin and Nature of Sacred Images in Early Modern Spain”. After the break Barbara Schellewald (University of Basel, Graduate School Eikones), Henriette Hofmann (University of Basel, Graduate School Eikones) and John Hamilton (Harvard University, Department of Germanic Languages and Literatures) gave the final presentations.

Coffee breaks, lunches and after-presentation discussions allowed for more in depth exchanges between conference participants. Following closing remarks by the organizers we went down the road to swissnex’s 420 Broadway office, for an interactive panel discussion that allowed speakers and organizers to reflect on the past two days and the role the conference played in the overall dynamic of their fields. After two days of intense discussions and contemplations all that was left to do was to enjoy the well-deserved reception. In the pit, around the buffet or on the high tables dialogue continued. When it came time to say goodbye, it was clear that the conference had succeeded in creating new transatlantic links and we look forward to the next event.

We would like to thank all of our partners that made such a great event possible: The Eikones Graduate Institute, Uni Basel, The Department of the Classics and the Department of the History of Art and Architecture at Harvard University, The Provostial Fund For Arts and Humanities at Harvard University, The Standing Committee on Medieval Studies at Harvard University and the Harvard Art Museums.